Brief Introduction of Master Yuan Lin's Zen Paintings
2. Lin Yuan's paintings are simple, solemn, mysterious and kind, with fixed lines and profound themes, which are straightforward and freehand, enough to become a model of Zen painting. From the paintings of the old monk, we realize that the relationship between Zen painting and Zen insight and cultivation is the reason why Zen painting is Zen painting. Zen takes Manjusri Prajna as the core and Pu Xian's wish as the foundation; The great wisdom of Zen painters is "Manjusri Prajna", and the brush and ink technique is "Pu Xian Wish".
3. Zen painting is based on great wisdom, relying on superb pen and ink skills, and following the great realm of Zen's nowhere to live to complete the integration and transcendence of pen and ink techniques. As a way of meditation, Zen painters understand between pen and ink and melt their hearts in stippling. While expressing Zen ink to wash the soul and transform itself, it also embodies the insight and spiritual realm of Zen painters. Therefore, Zen painting is a great product of the perfect integration and transcendence of kung fu and realm.
4. If all the pen and ink, techniques and configurations belong to the category of "promising method" in calligraphy and painting, then Zen painting has all the "promising method", but it is beyond it, showing as "random" and freely changing lines and stippling. Realize the real "doing nothing without doing anything." This requires the author to express the purity of Zen painting with the "heart" and "promising" pen and ink techniques of enlightened wisdom.
5. The old monk formed a circle with "law", and "impossibility" became his own nature, subtly showing that "law cannot be done, law cannot be done." This also provides a new reference for the study of calligraphy and painting. First of all, we must bite the "promising method" of all calligraphy and painting and make the kung fu perfect and thorough; On the other hand, we should constantly purify our original mind, return to "unintentional use", melt "dharma" with "unintentional use", and then write and draw with "unintentional use".
6. The old monk's paintings don't stick to fixed formulas, but pay more attention to "vividness" and "concentration", all of which are based on the word "seeing the pen". As the saying goes, "the shape is exhausted and the heart is full of joy." When the old monk painted landscapes, he sometimes followed the routine and sometimes found another way, but he was "in the festival" everywhere, surpassing all "shapes" and "phases" with a few strokes, which reflected the spiritual proof of the author's detachment and refinement everywhere.
7. Master Lin Yuan is good at drawing Buddha statues and is famous all over the world. Early statues were mostly influenced by Wu Daozi in Tang Dynasty, Guan Xiu in Five Dynasties, Liang Kai in Song Dynasty and Chang Fa, and their painting style was rigorous, delicate, steady and plain. The Buddha's eyebrows are slender, vivid, enlarged, well-proportioned, moderate in shade, quite beautiful, and also have the characteristics of "thirty-two phases and eighty kinds of goodness" included in the measurement of Buddha statues.
8. In his later years, the style of painting Buddha statues became more and more simple and direct, with Gu Zhuo method, simple and dignified brushwork. Draw more "Three Sages of the West", "Infinite Life Buddha", "Bag Monk", "Master Guanyin" and "Bodhidharma on the Snow Wall". Or compassionate and solemn, or rough and heavy. It is solemn and vivid, which makes people feel clean for a while. Once in a while, I put on a masterpiece, which is rich in ink and colorful, full of flowers, mixed with infiltration, crystal clear and clumsy, full of energy, and natural to communicate with heaven and earth. Its free and easy flow, dignified and heavy, comparable to the ancient sages, Gu Zhuo is full of natural interest and real strength.
9. The scenery in old age is more extraordinary. The picture is black and white and in color. It can not only thirst for pens, but also sweep away thousands of pens; It can also be a drop of ink, which is very beautiful in China and Tibet. It can be said that the autumn wind is dry, the spring rain is moist and changeable. Not only can it reflect the style of rich peaks and lush vegetation in the thick, light and wet infiltration; It can also vividly show the momentum of messy clothes, simplicity in old age, blue shadows in the sky and turbulent clouds. Wutai Scenic Area, the four holy places of Buddhism, the misty clouds of Emei, the spring scenery of Putuo and the autumn sound of Jiuhua are magnificent, which are also classic works repeatedly painted by him in his later years.
10. His calligraphy was born out of his later years, especially cursive. Use both Fiona Fang and pen to turn left and right; The glyphs are staggered and echoed, which is not legal. Like an insect dragon, stubborn and vigorous, open vertically and horizontally, but naive.
1 1. The old monk is more comfortable in his later years. He devoted himself to "escaping from the pen", cutting the complexity and simplifying it, broadening Guan Kuo, and sweeping it vertically and horizontally. With a few simple strokes, he can vividly depict the image and charm he wants to express. Sixteen Venerable Monks, Six Monks and Five Monks, Lingshan Dharma Association, etc. They are all concise, without any artificial atmosphere, which makes people understand and praise. It can be said that after Liang Kai in the Song Dynasty, he inherited the paintings of "brushstroke" and "Zen" for thousands of years.
12. Master Yuan Lin lived for 90 years and spent more than 60 years in Brahma. Self-discipline is strict all his life, and he is good at setting an example. Everyone who saw him was very moved. The master was so sad that he devoted his life to Buddhism with pen and ink. He lived in seclusion in the mountains for 60 years, and vowed to save all beings as his own responsibility, extract his mind and practice. Take calligraphy and painting as Zen and sex as biography. The master once said, "Practice first, painting and calligraphy second, and loving painting and calligraphy is an old habit of the monks. But it is not good to spread Buddhism and make a living from it. " . The great wish has made a wonderful work, and everything is a "Lingshan Dharma Meeting" to talk about Buddhism.
13. The master claimed to be a "mountain monk" and lived in seclusion in the mountains without seeking Wen Da; Painting calls itself "the old habit of mountain monks" and follows the fate without seeking; The seal of Chang Zhong's Suiyuan Calligraphy and Painting is vast. The so-called art of promoting Buddhism is inseparable from this duty, which is different from that of painters and painters all over the world.
14. Master Lin Yuan's paintings and calligraphy are well-known at home and abroad, and his followers are full every day. Zen master tries his best to satisfy all those who seek painting and calligraphy, and treats them equally, not because of the rich and the poor. It is pure equality and a good family style. I often teach my disciples that celebrities in the world are well known, rich and glorious, and the dream of reincarnation is empty. A Buddha's name, such as saving the head, burns the heart from the west and causes great events, which can make the Buddha's heart grow.
15. tens of thousands of paintings and calligraphy works in his life, most of which were made at the request, not for fame and fortune, all of which were given by fate and scattered everywhere. The old monk has never been disturbed by his heart, and has been living a poor spiritual life with bare diet, a ladle of drinking and ringing bells and drums in the morning. He is sincere in ancient style and keeps his true colors as a monk all his life.
16. Master Yuan Lin made the compassion of Buddha and Bodhisattva widely spread in the world by the karma of pen and ink. Virtue is the direction, and vegetation is the blessing. Lucky people are full of happiness and happiness. I hope those who happen to see the Zen ink of the old monk can put aside themselves, cut off their feelings, wholeheartedly accept the Buddhist dew of the old monk, truly turn Zen painting into Zen, and achieve their "self-solemnity" with the "wisdom and fragrance" of the old monk, and live up to the grace of the old monk's pen and ink.
17. In addition to the Buddha statue, Zen master Yuanlin also created a large number of landscape, flowers and calligraphy works with ingenious brushwork and lofty artistic conception. But they are inseparable from the Buddha's heart, aiming at teaching people to do evil, pursuing good deeds and purifying their minds. Master Lin Yuan wrote Plum Blossom "Knowing the Bright Moon as the Former"; The title orchid "Don't burn incense and plant orchids for half a month"; The title bamboo "has a knot before it is unearthed, and it is still open-minded to Lingyun"; The title lotus "Nine Lotus Flowers Bloom in Turbid Times", and so on, are all about ice and snow and water. Most of his calligraphy works are based on Buddhist scriptures, such as "the light is like the stars and the moon, the realm of wisdom and emptiness" and "the great wish is complete and the blessing is solemn", which shows the highest realm of Buddhism.
18. Master Lin Yuan's calligraphy and painting, with thick lines and simplicity, is serene, subtle and clean everywhere, although it can carry the tripod. A large number of vertical and horizontal strokes, dripping and swaying, push the expression of Chinese painting to the extreme. It is the natural expression of the pure heart after it returns to the Zen realm from its original heart. On the lonely top of the mountain, he shines brightly. His insight into the wisdom of the world, his compassion for helping others, his desire for liberation and his freedom outside an empty door can always reveal news in a painting and calligraphy work full of endless Zen machines.
19. Under the background of the decline of Buddhism, the old monk's sorrow came from it, binding the fate of Buddha with calligraphy and painting for the public, borrowing books and paintings as a sign, and opening another convenient door with "not writing". Take pen and ink as the carrier, express the correct method with calligraphy and painting, teach with reason and color in class. "There is no end to the void, and I wish to be infinite." The master is willing to be boundless, expressing Mahayana Buddhism's great contribution to the world with fake pen and ink lines, benefiting all sentient beings and enhancing friendship with Zen ink. The ink is decisive and sure, and it changes in an instant. It is impossible to bear the burden directly, and everyone who sees it will be elated and confident. In his later years, lines and pen and ink became more and more free, and his expression everywhere was as empty as the sky.
20. Professor Wang Bomin, a master of China art history and doctoral supervisor of China Academy of Fine Arts, wrote Mo Bao, a master of gardens and forests, for this commemorative exhibition, and praised the sentence "Painting the blue sky for color, sitting quietly in the jungle". Mr. Kong Zhongqi, a senior professor at China Academy of Fine Arts, wrote "Freedom, Magnifying Light". Professor Liu Jiang, the executive director of Xiling Printing Society, wrote that "ten fingers can be incense, color and taste, and one punch can break the past and the present". Professor Chen Zhenlian, vice chairman of China Calligraphers Association, director of academic committee and vice president of Xiling Printing Society, praised the old monk's calligraphy with the words "If the cloud rolls freely, the water will follow the circle".